In this Channel 4 production (UK), company bosses tell undercover reporters how honey traps, spies and fake news can be used to help clients (e.g. Trump & Brexit campaigns). I’ve uploaded this to my site just in case it’s taken down again from YouTube, etc. so that the truth may be known as widely as possible. This documentary footage shows how elections and referendums arent won on facts but through big data and psychographics (using social media, etc., see the 2018 Facebook scandal), i.e. by exploiting emotions and the subconscious (see 2-min video 'Advertising IS Propaganda).

SSATTB anthem for Trinity by Philip Tagg (1962), sung by the choir of Kings College Cambridge, led by David Willcocks, on Trinity Sunday, 1963. This video includes the synchronised original score. The audio recording is ropey to say the least: via a Philips reel-to-reel recorder, with distortion at high-volume peaks, all transferred to cassette! Still, the gutsy enjoyment of the piece is unmistakable and rendered faultlessly by the choir. Worth a listen even if the audio quality is rubbish. Full score also available separately.

Dont let this club membership change you, John, says Billy Joel [3:35]. We need you to be pissed off and restless... People are scared and angry... They need a voice like yours to echo the discontent out there in the heartland... Someones got to tell them “dont take any shit” and, John, you do that very well. John says The sword is a mighty weapon but it aint nothing compared to the songs and the words in the songs we sing. Then [6:40] he and the band do a live performance of Pink Houses (originally on LP Uh-Uh from 1983). This video contains English subtitles, song lyrics, chords, a little bit of notation and a few extra images. It has been edited down to 12 minutes and the audio track improved from the original ceremony [28:49] on YouTube.

Extracts from 1998 interview on French TV. Original integral version posted by Tony Menard on YouTube in December 2015. Section 1: Story of the Gated Toms [0:06, ff.]. 2: Respect for Ringo [2:52, ff.].

Jackson Browne: Lives In The Balance (1986)[5:03] [2017-04-27]
Analysis material: [1] original audio and video with [2] on-screen
synchronised English lyrics with [3] subtítulos en español,
[4] lead-sheet chords, [5] harmony annotations, [6] instrumental
annotations. This song, recorded at the time of Reagan's illegal
dirty-tricks war in Central America, is unfortunately just as
topical in 2017 as it was in 1986. There's a shadow on the
faces of the men that send the guns to the wars that are fought
in places where their business interest runs. The music here
is as politically eloquent as are the lyrics and video montage.

Original recording [4:27] of Hoola Bandola's
Victor Jara (1975), synchronised throughout with adequate
transcription. For discussion of this tune and for more material
about it, including English translation of Swedish lyrics, click
here.

Battle scene from Woody Allen's Love
and Death (1975: 0:21:00-0:22:11) in which Prokofiev's music
for the Battle on the Ice scene in Alexander Nevsky
is performed at 186 bpm, not 122!

Alexander
Nevsky
(dir. Eisenstein, mus. Prokofiev) with embedded timecode and new
English subtitles [1:48:31] [2016-12-03] To
avoid frustration with download times and endless buffering it may
be worth downloading the whole film to your own hard drive.

Restored version (1986) of complete Mosfilm original
(1938). I've added over 500 legible English subtitles
for the dialogue, titles and credits. Timecode has also been added
throughout to facilitate exact and unequivocal referencing of
sonic and visual events. For more info and for other materials
relevant to studying this film, especially its music, click here.
[HELP]

Demonstrates the breadth of repertoire and the
everyday
ubiquity of quartal harmony. Contains extracts of music by
Borodin, Debussy, Bartók, Stravinsky, Hindemith, Copland,
Joni Mitchell, King Crimson, Manfred Mann, Clarence Ashley. Features
also news jingles (ABC, CBS, BBC, ITN, Channel 9, Antenne 2, Canale
Cinque), quartal signals on digital devices and power chords for
Manga videos. It was originally used as illustration to the
"Scotland" PowerPoints (Nov 2016).

No parent should have to experience the death
of a much loved child. Despite its modest resources, this SSAATB
madrigal is about as passionately devastating as music can get.
The grief is deceptively simple and very moving: Hollywood and
Grand Opera, go home! Check out the "false relations"
in bars 7 and 48 (twice); the woeful Neapolitan sixths in bars
22-24, 33, 36; the exposed "O"-s in bars 28-29, 50-55;
the sudden A minor chord (in C minor) at the end of bar 10; and
the 19 entries of "Would God I had died for thee!" in
bars 39-49. Score synchronised with recording by The Consort of
Musicke (clear, unaccompanied single voices) under Anthony Rooley
(1999).

I stopped playing church organ when
I was 19, but I have since then often heard this passionately anguished
yet dignified and sometimes playful prelude in my head. When, 30
years later, I finally acquired an instrument allowing me to make
this amazing Bach piece come to life again, I recorded it using
my Korg M1 and MIDI editing software of the day. Maybe theres
a little too much 16' sometimes in my recording (and the reverb
is certainly excessive) but I think this version has a lot of get-up-and-go,
so I'm not ashamed to put it on line. If you enjoy it a quarter
as much as I enjoyed playing it, you'll have made my day!

I use this recording of a song by
Chico Buarque and Tom Jobim included on the soundtrack album
Ópera do Malandro, a 1985 Brazilian approximation of The
Beggar's Opera to illustrate the concept of vocal persona.
Elis Regina passes with considerable vocal passion from nice confidante
to wanton lover to psycho bitch to vulnerable little girl, etc.,
etc. This video material consists solely of timecode and of lyrics
in both original Portuguese and in English translation so that
students can note points at which Reginas vocal persona changes.

Original 9-minute studio audio track
accompanied by complete synchronised lyrics in Portuguese with
English translation (thanks to Bosco De Oliveiro). Musically somewhere
between folk rock and punk, this song, consisting mainly of 42
8-bar verses in 4/4 time (c. 12 seconds each), seems to be in
a simple strophic folk ballad story-telling sort of form. That
observation may apply largely to the tune's first 3 minutes, after
which the backing starts to vary considerably in terms of instrumentation,
groove, articulation and harmony. Renato Russo (lead vocalist)
also exploits a range of vocal personae. All these variations
underline the dramatic (comic and highly tragic) narrative of
the lyrics. I'd like some time to write an analysis of this piece.
If and when it's done, this description will contain a hyperlink
to whatever text I manage to produce. (Faroeste means the
far West (the Wild West) and a caboclo
is basically a Brazilian of mixed race (see Wikipedia)).

Teaching material including one
full example and a montage of several extracts illustrating one
type of Swedish dansbandsmusik that has, since the 1970s,
been hugely popular all over Scandinavia. I intend to write an
explanatory text about the importance, influence and, yes, interest
of this type of music that was generally regarded as the epitome
of uncool, as the depth of banality and of bad taste, by virtually
every rock and jazz musician I met when living in Sweden (1966-1991),
When I've written that piece, I'll put a hyperlink up here. Meanwhile,
I hope this video will give you some enjoyable musical food for
thought.

Basic notation and lyrics in Swedish
and English added to studio recording from album Rackarspel
(Folk och Rackare, 1978) [4'51"]. Documentary value as: [1]
a Scandinavian double-hemitonic pentatonic/hexatonic melody 1
#3 4 5 b6 (b7); [2] the recording on which popular latter-day
versions of the the tune were based. Aesthetic and socio-historical
value also considerable!...

An attempt to bring sense into central
concepts of music theory so they can be usefully applied to other
musics than only those of the euroclassical and jazz canons. The
silly use of "atonal' and of the absurd binary "tonality v. modality"
are two topics of focus in this first in a series of videos about
the terminological trouble with conventional Western music theory.

Timbre:
envelope ADSR, 4 examples [1:09] (2014-10-08)Very
short clip in which four instrumental sounds (analogue synth pad,
gong, piano and symphonic strings).demonstrate, very simply, the
four phases of the ADSR envelope (gong and piano just Attack and
Decay).

Live performance (Likávittos,
Athens, Sept. 2006) of this hugely popular Greek hit 1st issued
on CD in 2000. This video shows the melody and all lute (laouto)
fills in notation, basic chords symbols, and the Greek lyrics
with a simple English translation. If you think slow tunes in
minor modes (here phrygian/Χιτσάζ) are intrinsically morose, watch/hear
this and think again! If you want to know how to make a good droney-open-fifths
sound, watch/hear this. If you think most really popular songs
are junk, watch/hear this instead. If you're anglophone and don't
know much really popular stuff from any other musical culture,
watch/hear this. And if you want to get a personal idea of the
sort of thing young Greeks were feeling not long before their
national economy collapsed, watch/hear this. This video exemplifies
the sort of truly popular music that rarely gets attention in
popular music studies a short coda lists 40 artists
who covered the song. Thats popular music way off the radar
screen for most anglophone IASPMites!

Jeffrey
Cain: Whispering Thunder(1972)
[4:06] (v2. 2015-10-17) This
simple but effective three-chord political song, honouring Jonathan
P. Jackson's attempt to free his brother George, recounts the
tragic Marin County Courthouse events of August 1970, in which
Jonathan Jackson and several prisoners he had freed, as well as
the County Court judge, were all killed. The last two lines of
the last verse run "This is the story of one young brother
with the blood boiling in his veins. This is the story of the
whispering thunder that comes before the rain." I've posted
this musical wake-up call, complete with fateful Aeolian shuttle
(bVI<->i), because I can't find it on iTunes, and because
I think it should be known.

One of the clearest and most popular
examples of music's relation to politics. The courage, integrity
and musicality of the Dixie Chicks is also evident in songs like
Not Ready To Make Nice, recorded post-Shepherd's-Bush.The video is in three parts: [1]
before the Sheperd's Bush incident (2003); [2] post-Shepherd's
Bush, hounded by C&W rednecks but determined to do the
right thing; [3] their song Not Ready To Make Nice (2006)
the right thing! with scrolling lyrics, tune and chords
and images both from Australian TV and from the excellent film
Shut Up and Sing! (dir. Barbara Kopple). This song and
its context provide a potent and uplifting example of music semiotics
at work in an inescapably political context. In the video I omit
discussion of the fateful
Aeolian shuttle, the protest acoustic guitar,
the positive anger and its vocal celebration and many other musical
details about the song. The videos aim is to explain the context
in which the Dixie Chicks produced those sounds. N.B. This
material is not available elsewhere on the web due to copyright
restrictions.

This
is my favourite version of Kurt Weill's famous tune from Aufstieg
und Fall der Stadt Mahagonny (1930). The rock arrangement
in the verse parts Bengt Blomgren on guitar, Bernt Andersson,
the arranger, on keyboards, and Liliane Håkansson (lead vocals)
give this 1979 recording plenty of whoomph, while the soupy
sax, blasé vocals and cheap-bar electronic piano of the refrains
make for a disturbing contrast to the balls of the verses. No
wonder capitalism is failing. It's sick and will fail. I'm sure
that'll give me as much joy as this recording! Source: LP Låt
er inte förföras (= Don't be seduced!), Avanti AVLP 06 (1979).

Minimise
online danger to your computer by using an instantaneous single-keystroke
or single-mouse-click toggle between internet connection and disconnection.
Why isn't something that does this standard issue on all operating
systems? With this switch I become available when I
think fit, not when corporations, governments, the secret police
and hackers want me to be at their mercy! More
info here...

Original
videotape footage from August 1973, shortly before he was tortured
and killed by the Pinochet régimes murderers, of
Víctor Jara performing El derecho de vivir en paz The
Right To Live In Peace an excellent song with lyrics
of great hope. [It was later covered with great aplomb by Congreso].
I've added subtitles in Spanish for the lyrics and in English
as translation of Víctors preamble and of the Spanish lyrics.
I've also supplied the video with lead sheet chord shorthand (it
IS a good song!) and with references to other recordings of this
and other Jara songs.

Using Vladimir Cosma's title theme
for Médecins de Nuit, this video demonstrates the
importance of considering syncrisis ("now sound", groove,
intensional dynamics, etc.) as form. "States of musical being"
(shuttles, loops, syncrisis) are as important as "places
to go" (harmonic processes, etc.) and conventional notions
of musical form. This video was produced for a conference on popular
music analysis (Liverpool, 2-4 July, 2013).

Re-edit of existing YouTube post, this one without voice-over
or stills of 78 rpm record player. Instead: Welsh text and sheet
music of this well-known hymn (SATB in A flat) sung in Welsh by
the Boro Choir.

You may think simultaneously sounded semitones are discordant. Perhaps you argue that fourths, fifths and octaves are natural consonances because they correspond to simple pitch ratios but omit to mention the acoustic complexity of thirds and sixths in the 'common triads' of our equal-tone temperament, not to mention the tritone inside virtually every single standard jazz chord. Perhaps you even cite the common use of semitones in horror scenes as 'proof' that semitones are 'naturally' discordant. This clip demonstrates that such assumptions are as false as they are ethnocentric because the seven women heard here are definitely having fun singing semitone dyads and clusters for half of this harvest song. Comments in this video are by Prof Claire Levy (Sofia) and myself.

Whether you think of it as ii7, iv6, the 'Tristan chord', or "half diminished", m7-5/m6 has a recognisable aural identity. This montage demonstrates the connotative coherence of the chord, as documented on pp.180-204, 566-573 in Ten Little Title Tunes.

Very interesting...! Born in Scotland, but just got home from
"Clifftop Appalachian String Band Music Festival" in West Virginia...
[T]his video came up in daily conversation and was recommended!!
(Viewer
comments on Vimeo, 2018-08-08)

Scotch
Snaps - The Big Picture[1:14:54]
(2011-05-11)
This feature-length study is one of my many edutainment videos that
have been BANNED WORLDWIDE ON YOUTUBE!

A huge social and cultural history lies in the microcosm of this two-note rhythm. Questions dealt with are things like: [1] What is a "Scotch snap"? [2] How does it relate to language, class and ethnicity? [3] Is it just Scottish, or is it also Irish, Welsh, English, West African, Hungarian, "Celtic", "black", "white" or what? [4] It's used by Henry Purcell, Béla Bartók, Mahalia Jackson, Woody Guthrie, Stevie Wonder, Ry Cooder, James Brown and Buck Owens; and you'll also find it in Strathspeys, traditional English ballads, Appalachian fiddling, string band music, spirituals, white gospel, black gospel, even in West African time lines, but you won't hear it in mariachi, mbaqanga or MPB, nor in music of South or Central Europe: why and why not? [4] It has to do with English language rhythm but then why did the snap disappear from English music during the 18th century to re-emerge globally in popular musics of the late 20th century? [5] Why did Dvořák think that "Negro" and "Scottish" musics were similar? [6] How come some music of English origin is labelled "Celtic" when England is seen by fans of "Celticity" as the devil incarnate? This instructive but entertaining video offers an alternative to ethnic fixations in popular music history and genre labelling. See also Temperley, N., & Temperley, D. (2011): Music-language correlations and the “scotch snap”. Music Perception, 29(1), 51-63. [HELP]

In English, subtítulos en español.
Video for Universidad de Villa Maria (Córdoba, Argentina, Oct.
2009). It sets out the basic epistemic problems of teaching and
learning music in our tradition of knowledge, including a critique
of "absolute music" and suggestions as to how we can
make knowledge in and about music more democratic and more accessible
to "non-musos". Includes footage from Dixie Chicks'
Shut Up and Sing movie (2006).
[HELP]

I vi ii/IV I: what does it mean? Extracts from 52 US pop records 1957-63 illustrated with chords, teen angels, angel babies, girl groups, devotion, heartache and "all those goddam Bobbies". This
is a truly virtuosic creation: 52 pop singles in the United States
that used the progression, arranged by key... Album covers, animated
charts of the chord changes, and visual snippets demonstrating lyrical
content flash by while you listen. (www.pmgentry.net/blog/).

Montage of online performances of 'Gabriel's Oboe', one of the main themes Morricone wrote for 'The Mission' (1986) and one of today's most widely performed pieces of music. Teaching material for film music analysis and popular music aesthetics.

What does the famous 4-note jingle mean and how does it work? What does music communicate in this 1990s ad? What other music and moods does the jingle resemble? Are marimbas "corporate"? Why no guitar? Why no quality symphony orchestra? Video illustration used in teaching Music and the Moving Image and in the semiotic analysis of music.

Pastoral
idyll or place of great evil? Will any music fit this footage?
With notation and musical commentary. Musical meaning in a TV theme. Title sequences from Yorkshire TV, original theme tune by Tony Hatch. Commutations and transscansions. Teaching material for film music courses. For more, see the Ten
Little Title Tunespp. 503-519.

Step by step demo of how to use drones and parallel fifths to create convincing pseudo-medieval harmony for modal tunes. There are no dominants or subdominants: just a the droned keynote and the tune's tonal pole (the other tonal constellation it goes to). These quintal/quartal chords sound much better than the those tired old tertial triads!. "The Tailor and the Mouse" (hexatonic minor) is used as an example. On-screen illustration, notation and animation. Teaching material for classes in Popular Music Analysis.

Provisional rant about the inequitable absurdities whereby I'm barred from doing my educational duty to spread knowledge and understanding about music in the modern media. YouTube lets big corporations block the information it's my job to disseminate.

"Waaah! Bodyformed for you". This music-semiotic analysis suggests
that panty liners are even less likely to trigger orgasms than
to be soaked in bluey-green liquid. And yet that is all quite
normal in consumerist propaganda: 'advertisers' can tell whatever
connotative lies they like. This analysis material also starts
to ask questions about links between the me-me-me subjectivity
of the 1980s and musical phenomena like the "plastic glitter";
keyboard sound or chord vamps ending vi-V. Those questions get
no answer here! Teaching material for Music and Moving Image students.

Mixolydian chord loops from nine well-known rock recordings in different
keys with clockwise circle-of-fifths movement and anacruses. The most common mixolydian chord loop (I-bVII-IV or bVII-IV-I) animated, explained and illustrated using extracts from well-known rock recordings in different keys. Useful and amusing for anyone wanting to get to grips with realities of harmony in popular music. Practical demonstration of writings on one aspect of harmony (more details in Everyday Tonality). Before its take-down by YouTube, the original version of this edutainment clip from June 2009, now on Vimeo and downloadable from this site, had 2,292 views, 21 likes and 2 dislikes. It had been banned because it cited, 100% legally, ten seconds from The Kinks Twentieth Century Man (1971). Since US federal copyright law about fair use (Title 17, sections 107-108 plus the Campbell v. Acuff-Rose precedent about transformative use) doesn't seem to include YouTube users, I've replaced those 10" (1.7% of the clip!) in a YouTube censored version with a rudimentary MIDI passage illustrating the same basic chord sequence. The remaining 5'14" (614 seconds) in this censored version are the same as in the original uncensored version.

The
Dream of Olwen. The Sound of Music and Timotei shampoo in one
musicogenic semantic package. For further explanation check
this text. See also Ten Little Title Tunes, pp. 155-27. Semiotic music analysis material.

Edited extract from The
Century of the Self (Adam Curtis), episode 1. Includes
Edward Bernays, father of PR/marketing/advertising (comsumerist
propaganda), saying why he couldn't use the word propaganda to
describe his activities. Also advertising guru Pat Jackson on
groups of people and their irrational emotions.
I've used this clip in Popular Music History classes when dealing
with the advent of format radio�.

A suggested conclusion to this film about Morricones music for the film, answering questions posed in Part 1 of this project. This video featurs: [1] conjunct descending bass IOCM for Gabriels Oboe, including Bachs Air and A Whiter Shade Of Pale; [2] A man of sorrows and ; [3] Vinceró; [4] ethical issues in Latin America; [4] music, human rights, the just, unjust and power abuse; [5] Ontivero Asunción; [6] contrition and sacrifice; [7] musical integration v. apartheid.

Montage of online performances of 'Gabriel's Oboe', one of the main themes Morricone wrote for 'The Mission' (1986) and one of today's most widely performed pieces of music. Teaching material for film music analysis and popular music aesthetics.

NB. This video file consists wholly of material on disc 2 in The Mission DVD box set (Warner Brothers SO 15031, 1996; DVD NTSC Warner 23497, 2003). If you are copyright holder and view this posting of educational material as an illegal act, please contact me and I will delete the file on line. I've posted it because it has considerable educational value and is difficult to come by through commercial channels.

Well use the UKs £350m/week membership of the EU to pay for the National Health Service. All lies, lies, lies from Boris Johnson, Michael Gove, Nigel Farage and other dangerous clowns. Sue them instead!

Feature from 1994 BBC broadcast Northwest Tonight (regional news) about
teaching popular music
(incl. Kojak & Fernando). Dealing seriously with popular music in those days, I was treated as a minor curiosity, a whackademic.

[1:17:42] (2018-05-12) String of clips showing UK rail terminus stations as places where trains arrive and depart. Can you identify all 51 termini? (I cant) Answers in red after each clip. Info and details.

[1:07:57] (2017-02-22) Accelerated
(×4-×6) cab ride on 217 km covered by El Tren
a las Nubes on Ramal 14 of the Ferrocarril General Belgrano
(Salta-Antofagasta), from 1187m to 4220m altitude, up the Rio
Toro gorge with 2 switchbacks (zig-zags), round 2 ascending loops
to the high, desert-dry pre-Andean plains (altiplano/puna),
through 21 tunnels and 13 viaducts to end at the Polvorilla viaduct,
300 km short of the Chilean border. Download this video from Vimeo
if you want to avoid buffering hiccups during playback (how
to download a Vimeo file: its URL is https://vimeo.com/205310981).

Burbank
Tourist Drive[also
on YouTube]
[11:29] (2009-11-14) Nokia phone footage (passenger view through windscreen) of a drive along route 405, along Ventura Blvd, then past Burbank's studio domains (Universal, Warner, Disney), all late on a Sunday afternoon in November 2009. Im the tourist with the phone camera and Peter D Kaye is my driver and guide. The TV music stereotype studies used in this clip are by Tagg and can be heard complete under Hearing the Detectives at www.tagg.tagg.org/ptavmat.htm#Audio. Tracks used in this video are "Coke Squad", "Robocopter", "Throg's Neck Thugs", "Afroglass Club 33" and "Arizona Drains".

Hotel
Lift in Granada
[01:03] (2012-05-10) Views of the Sierra Nevada and of the city recorded on smartphone while using the lift in Granadas Abba Hotel (sic)

Plaza
San Luis in Valparaíso
[00:31] (2013-08-11) Cartographical anomaly. 360° manual smartphone pan at the point in the Monte Alegre district of Valparaíso where seven streets converge (Plazuela San Luis).

Aberllyfni
+ Traeth Pontllyfni
[01:55] (2014-12-15) Where the Afon Llyfni flows fast into the Irish Sea. 360° manual pan on one of Waless most scenic (not warmest or sandiest) beaches. Good footage of December-grey sea and small breakers with good audio of water over pebbles on beach; real time; real audio.

Google have mechanised identification
of recorded works used in videos posted by YouTube users. While
this practice may serve a purpose in combatting the illegal duplication
and redistribution of copyrighted work, it is irrelevant to the
edutainment clips I produce that relate to the topics
I have taught and researched since
1971  Popular Music Analysis, Popular Music History,
Semiotics of Music in the Mass Media, etc. These subjects are
of central importance in the understanding of meanings and ideologies
circulating in todays world. It is altogether impossible
to disseminate information about these topics without citing extracts
from copyrighted work that demonstrate or exemplify essential
points of method and content.

NOTICE TO COPYRIGHT HOLDERS

No clip listed on this page contains any infringement of the Digital Millennium Copyright Act. Every such clip citing the work of other authors conforms to all criteria determining the fair and/or scholarly use of citation according to U.S. Federal Law
(Sections 107-118 of the Copyright Act; title 17, U.S. Code), as well as to the precedent concerning the transformative
nature of work citing other works (Campbell v. Acuff-Rose Music Inc, 510 U.S. 569; 1994). If, as copyright holder, you wish to contest the posting of any material included in a recorded file on this website, please send me a short email message so that I can put you in contact with my media lawyer in New York.

problems

YouTube carpet bombing

YouTube mechanically scans all uploaded videos for potential breaches of copyright. Even if Im 100% within the law, several of my videos on YouTube are either “blocked in some countries”, or flagged as containing “matched third-party content”, or have simply been taken down. I have repeatedly complained to YouTube that their mechanical policing of my edutainment videos contravenes the “Fair Use” provisions made in US law for the dissemination of scholarly, non-profit productions but I have been threatened with a ban from YouTube if I persist in vindicating this democratic right. (Fair use definitions in US Code ('Copyright Law of the United States', 2011), §107 (p. 19) and §118 (p. 74)[PDF, government document]; for info on the transformative factor in Fair Use, see here).

Most videos listed below can be either viewed on, or downloaded from, this site if you click on the relevant link. I will also gradually transfer all videos currently listed under <etymophony> on YouTube to this site and/or to Vimeo.